Studies in 20th Century Literature Volume 16 Issue 2 Article 7 6-1-1992 Translating from Memory: Patrick Modiano in Postmodern Context Timothy H. Scherman Duke University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Scherman, Timothy H. (1992) "Translating from Memory: Patrick Modiano in Postmodern Context," Studies in 20th Century Literature: Vol. 16: Iss. 2, Article 7. https://doi.org/10.4148/2334-4415.1304 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Translating from Memory: Patrick Modiano in Postmodern Context Abstract In this essay I have attemped to renegotiate the relationship between the work of Patrick Modiano and the conditions of literary production designated by "postmodernism." Contemporary French reviewers and critics have greeted with guarded praise Modiano's efforts to write in a language and about events that belong to another writing. Following their lead, this essay first explores the tension (often lost on American readers) created by the possibility that the historical referent of Modiano's texts—not only Modiano's personal past but the horror of the Occupation—might now exist only as a weightless narrative "effect." As such, it is a part of style somehow comparable to and manipulable by a postmodern, purely textural hermeneutic. As many critics have pointed out, Modiano reveals his awareness of this problem through his obsessive thematizing of "memory." My argument here is that by employing a specifically translational mode ofwriting that would co-opt the "loss of loss" characteristic of postmodernism, Modiano is able to renew our sense of the jagged reality of history as always remembered by a finite subjectivity. I demonstrate this translational mode in an analysis of Modiano's Rue des boutiques obscures, in which we find not only the patently postmodern and self-referential detective story form, but the textually invoked subject of that form, presented as "translations" that imply historically lost but nonetheless palpable, real, and at times horrible, antecedents. Keywords Patrick Modiano, postmodernism, language, American readers, Occuation, hermeneutics, memory, translational mode, Rue des boutiques obscures, detective story, translations This article is available in Studies in 20th Century Literature: https://newprairiepress.org/sttcl/vol16/iss2/7 Scherman: Translating from Memory: Patrick Modiano in Postmodern Context Translating from Memory: Patrick Modiano in Postmodern Context Timothy H. Scherman Duke University Although to date the work of Patrick Modiano has been most profitably read in the United States as a French species of second- generation World War II "survivor" fiction alongside the writings of Christa Wolf, Elsa Morante and Art Spiegelman, his audience here remains remarkably small. Very few of his works have been translated into English, and with his recurrent (some would say obsessive) return to the same narrative site-France during the Occupation-Modiano seems to present a time and place hardly as memorable to Americans as to its more immediate cultural survivors. Yet the problem re- hearsed time and again in Modiano's texts is that he cannot "remem- ber" that period either (that no one in his generation can), and even if Modiano has himself referred to Occupied France as the "natural landscape" of his work, to categorize that work according to an unproblematized historical "referent" is certainly not adequate.1 Colin Nettelbeck aM1Penelope Hueston are correct in pointing out, for example, that Modiano's perspective is not that of the historian, but that of the novelist, and they do well to emphasize that between his work and its historical object lies a poetic distance of which he seems most constantly and painfully aware. What they fail to do, however, is to situate that distance itself in specific conditions of literary produc- tion that characterize a historical period. Those conditions, which might no longer deserve the adjective "historical," are postmodern, and it is as a particularly unstable isotope of this cultural chemistry that the figure of Patrick Modiano must be introduced. What seems to have complicated the task of introducing Modiano as anything, even in his own country, is less his return to a past he is "too young to know" than his apparent return to the forms of the classic French "recit" of the 1920s and his obsession with the weary and well-trod theme of "memory."2 Once this last has been recog- nized, we might expect the next move to involve some comparison with memory's cultural representative in the French context (the enormous figure of Proust), and hence to voices more closely associ- Published by New Prairie Press 1 Studies in 20th & 21st Century Literature, Vol. 16, Iss. 2 [1992], Art. 7 290 STCL, VoL 16, No. 2 (Summer, 1992) ated with the memory of the Occupation, Vercors, or the later Cline of Un château I 'autre.Y et, I would argue that we can learn more about Modiano's project by reading it in the fashion invited by Raymond Queneau's Exercices de style than by comparing his work to that of the former figures, that it is exactly the problem of historicizing "style" in Modiano that makes moves to Proust or aline decidedlyfaux pas.3 For between the accounts of aline and other first-generation survi- vors and the texts of Modiano, there lies not only the space of a generation-the difference between recording lived experience and imagining through narrative how a past experience might have been endured-but also a decisive change in the conception of the usage of language as the medium of historical translation. Of course this is not to assert for the former authors' works some unmediated relation to history through a naive or unproblematized conception of language, for their texts are marked heavily by the high-modernist realization that although something (or everything) is always lost in the attempt to translate history through language, it is nevertheless through language that we must translate it. What has changed, or what has itself been translated in postmodernism, is the conception of the undeniable distance between language and the object it describes. That is, the historical loss that generates the energy of first generation "survivor" fiction in its attempt to record the Real (the torture that can never be recorded) has in its second generation become accept- able, "readable," and marketable. Thus with Anne Duchene we might view Modiano's work in two distinct, though related veins: one that emerges from an older sense of historical dislocation (in which the Jewish son desperately tries to approximate "the . experience of the war he was too young to know"), and another mode where the same "desolate sense of loss and dispossession" gets recorded in a tone that is "achingly cool." In this second mode the "story," not to say history, scarcely matters; what does matter is Modiano's "technique ... the delicate superimposing of past upon present, grafting the 'then' on the tow' in a thin yet infinitely hurtful threnody." Duchene's caveat is that this second mode threatens to destroy our investment in the first, that Modiano's all too often "formulaic" technique is "getting rather dangerously sleek." That is, not only are Modiano's style and subject becoming recognizable, at least in France, but more to the point, his subject threatens to be subsumed by the style that relates it. In the passages we read thinking, "ah! that's Modiano" in much the same way we would https://newprairiepress.org/sttcl/vol16/iss2/7 DOI: 10.4148/2334-4415.1304 2 Scherman: Translating from Memory: Patrick Modiano in Postmodern Context Schennan 291 think "ah! that's Modigliano" (to borrow Duchene's clever example) we sense that what might earlier have produced a historical desire in the reader (for Barthes, the text's "writerliness") has been reified into a seductive charme. In this latter sense, Modiano's late figuring of the attempt to retrieve past lives and events has been identified with the postmodern sub-genre of fiction designated by "la mode rdtro," a species of nostalgia art grown popular in France over the last two decades in which the writer's (or architect's, or fashion designer's) backward glance into the past has been converted into a "look" which is its own object. Even in its insistent self-reflexivity, the "retro" work should not be conceived as simply "all style and no substance," but as a part of an artistic mode which has eliminated the possiblity of any refer- ence to substance. While "style" of course will be said to have its own content, what is gone here is the distance that would allow any perspective on that content, any position outside "style" that would not itself become "style" in turn. Baudrillard has called this the text's "seduction," the way in which the most "superficial" or "manifest" aspect of discourse has been converted from that which conceals any meaning or truth beneath it into tha t which conceals the fact that there is nothing "latent" beneath "the charms and traps of appearances" at all (Baudrillard, "Seduction" 149-50). Against "seduction" Baudrillard will place "interpretation," whose categories of latency and the un- conscious have struggled, at least since Freud, to fill the "abyss of appearances" evoked magically in discourse with ritual, aesthetic, or political meaning. Of course, it may be argued that Baudrillard's own positing of the seductive quality of texts is itself only another act of interpretation which would confer upon texts simply another kind of political mean- ing.